Most guitars have the maker’s brand name displayed on the headstock. However the headstock of this old lap steel displays what amounts to an advertisement, and there are no other identifying marks on the instrument. The brass plaque on the headstock boldly proclaims Harry Mawson’s Hawaiian Academy – correct tuition all instruments – phone WA2769.
There are many instances of guitars sold under brands other than the manufacturer. For example Valco produced instruments under names such as Airline, National and Supro, some Swedish Hagstrom guitars were branded as Kent, the Italian company Eko produced guitars for Vox in the 1960s, and in Australia Eko guitars were sometimes branded as Eston, a house brand of Rose Music.
However, instruments carrying the brand of a music academy are less common, and I’m not sure about the effectiveness of Harry’s promotional strategy! There’s not a lot of information readily available on his academy, but he probably did quite well riding the wave of popularity of Hawaiian music in Australia in the earlier part of last century. Records indicate that Harry Mawson’s Hawthorn Banjo and Guitar Club existed in the 1930s, and was later renamed as Harry Mawson’s Hawaiian Academy.
All indications are that this lap steel guitar is a Maxim, made in Richmond, Melbourne in the 1950s. Maxim instruments were made by Peter McCarthy, a guitar and banjo player who worked in the ABC Dance Band and the ABC Concert Orchestra as well as working in theatre orchestras for many years. He also made guitar amps, which although not well known, are highly regarded among connoisseurs of vintage valve (tube) amps.
Former Perth guitarist Rick Veneer is a long-time Maxim amp user, and has some interesting background on Peter McCarthy on his website. http://rickveneer.com/maxim-peter-mccarthy/.
The full history of this instrument is not known – I purchased it from a Bryce Skidmore, who told me his brother Byron bought it second hand many years ago from a mate whose father had owned it from new. It came in its original case, and even included a Bakelite slide and metal finger picks.
The co-axial cable is “captive” – permanently connected to the instrument, as was common in the 1950s. The fingerboard and the metal cover plates are secured with stainless steel nails rather than screws. The original machine heads still work fine, albeit a little stiff and with the knobs discoloured with age to a rather nice shade of pink.
The hand-wired pickup produces a beautiful clear tone, and sounds even better through an Ibanez tube screamer.
For those curious about Harry’s alpha-numeric telephone number on the plaque, the 2 digit alphabetical prefix was used prior to the introduction of automatic telephone exchanges, and WA was used for the Hawthorn exchange.